Written and occasionally directed by Neil Jordan (“The
Crying Game”), the nine-episode “Borgias” begins in 1492,
when the New World is little more than rumor. Tightening his
grip on the Old one is Rodrigo Borgia (Jeremy Irons), a cardinal
and patriarch (the two were not then exclusive) who bribes his
way into the Vatican as Pope Alexander VI.

Even sweet little sister Lucrezia (Holliday Grainger) plays
her part in the family’s political machinations. History tells
us she won’t stay that way for long, and “The Borgias”
delights in building up -- and rewarding -- our anticipation.

The four episodes made available to critics introduce not
only the men of the family, but their various consorts (Joanne
Whalley as the matriarch and Lotte Verbeek as the mistress) and
their rivals (chiefly, Colm Feore as a cardinal determined to
rid the Vatican of all things Borgia).

Art-directed down to the last detail, “The Borgias” is
cloaked in crimsons and purples, looking far more lush than
anything outside the pay-cable wall.

Newcomers Arnaud and Grainger make terrific impressions as
the brother and sister whose kisses linger a breath too long.
Irons, too, is wonderfully shaded as a murderous pope who may
yet find Jesus.

‘The Killing’

The ads for AMC’s wrenching Seattle-based murder mystery
“The Killing” ask, “Who killed Rosie Larsen?” -- a campaign
clearly meant to invoke that other Pacific Northwest whodunit
from two decades ago. But the otherworldly “Twin Peaks” was a
universe away from the somber realism of this riveting new
series.

Adapted from a Danish series by writer/producer Veena Sud,
“The Killing” weaves three storylines -- family drama, police
investigation and political scandal -- springing from the murder
of a 17-year-old girl. The premise is grim, and “The Killing”
never glosses over the horror. “Cold Case,” this isn’t.

Investigating the crime is police detective Sarah Linden
(Mireille Enos of “Big Love”), a single mom whose plans to
quit are derailed with the murder. She’s partnered with the
obnoxious detective (Joel Kinnaman) recruited to replace her.

Political intrigue arrives when city councilman (Billy
Campbell) is drawn into the mystery after the girl’s corpse is
discovered in the trunk of a car registered to his campaign.
Urged by his staff to exploit the tragedy for political gain (as
I said, grim), the politico instead takes the high road. Still,
there’s something not quite right about him...

The series’ emotional center is the girl’s family (Brent
Sexton plays the father, and a heartbreaking Michelle Forbes is
mom). For much of the pilot episode, “The Killing” keeps
Rosie’s parents happily in the dark. The happiness disappears.
The dark stays.

‘Camelot’

Starz serves up yet another B-grade costume soap with the
Arthurian legend “Camelot,” staying true to the cable
channel’s now-familiar sex and swords formula. If it’s not quite
as gratuitously gory or smutty as the “Spartacus” franchise,
it’s also not as much fun.

Renaissance Faire finery, buxom maidens, bare-bottom
knights and cheesy CGI effects hold interest for an episode or
two. The mediocre cast doesn’t do much to retain our interest:
Jamie Campbell Bower makes for a rabbity King Arthur, Tamsin
Egerton is a charmless Guinevere and Joseph Fiennes, as a buzz-cut Merlin, does little more than glower, perhaps contemplating
the road from “Shakespeare in Love” to mumbling lines like
“Fate can go begging -- destiny has to be won!”